1. SOUND

2. SOUND
Foleys e.g. clicks of camera, typing on a computer, background sounds in a library (muffled talking, footsteps,), ‘zzzzz’ sounds for zooms, taking a book off a shelf, running fingers along books, room tones/atmosphere,
Over exaggerated sounds e.g. Tarantino
Mainly for hectic scenes and for people in the distance of shots or if we are filming a long shot.
Dialogue is the most important to capture as sound wise, the documentary is dialogue driven in most places.
‘they developed a style of dialogue-driven, roving camera, slow-cut scenes interwoven with fast-cut action scenes’ (on Tarantino and Menke)

3. ‘original music is the only way to score your short’
SOUND
‘rarified ambient sound…emphasising the silence between the characters’
Use of silence: libraries are generally quiet locations, minimal effects emphasise awkward moments, don’t want to overpower the scene, used often in this style of comedy,
Example: Randy & Irene’s encounter, Randy & the crew when Randy shows his psychopathic side
‘original music is the only way to score your short’
Looking to get an original score, no funding for licensing, royalty free music, mightn’t not need too much music more atmospheric sounds,

4. SOUND Challenges making sure we understand how the equipment works
‘sound is one of the easiest elements to mess up on set’
ensuring sound is crisp & clear on set and when recording foleys to get the best quality
Challenges
Difficulty capturing certain sound effects – use free sfx as a Plan B?
‘foleys can support and [add] focus, texture and life to the world of film’
Sound isn’t too hyper real/Tarantino style – perfect mix between reality and slightly off putting
Sound helps emphasise elements in the scene and doesn't overpower situations

5. SOUND Collaboration: Camera Operators: Lighting: Other Sound Operator:
ensure the framing allows us to capture good sound (positioning of the boom pole, the unidirectional mics have good placement) and make alterations where necessary
Lighting:
gaining the desired lighting effects but avoiding shadows from the equipment and making sure clear sound is still able to achieve
Other Sound Operator:
constant communication on set to ensure the sound is peaking at the desired levels and that the sound is the best we can achieve, checking back on shots during the shooting day to make sure we are consistent

6. EDITING

7. EDITING ‘editing reveals and even greater awareness of the audience’
Pacing and Timing:
Very important since we need to be the audience and the comedian – need to find the ‘point where the humour peaks’ and cut there, test screenings etc.
Style of comedy:
lots of little laughs all the way through and a few bigger laughs.
Leave enough time for laughter not to not overlap dialogue
‘editing reveals and even greater awareness of the audience’
‘the editing centres on timing to accentuate performance’
Editing around reaction shots of characters and lingering on the characters ‘look to camera’ increasing the awkwardness of the scene and therefore the comedy

8. EDITING
Collaboration with each other to work through differences in opinion and not let each other get stuck in one frame of mind
understanding the intentions and subtext of the script, especially as the camera is very reaction shot based/set based
‘foreground/background set ups can also be particularly effective in heightening humour at the character’s expense’
CHALLENGES
Time constraints – there are too of us but a time consuming genre and sound editing too
Working within the comedy genre as it’s a new experience for us both

9. EDITING Collaboration: Lighting & Production Design: Director(s):
Decide on a colour scheme for locations in order to help with the grade and work out what kind of style (soft/harsh) for certain scenes
Director(s):
Collaborate closely during the edit to ensure the vision is being shown correctly and the character’s motivations and personalities are being shown correctly
Find test audiences to see if it is actually funny
Sound (each other lol):
Making sure the sound synchs up correctly and the different levels (of foleys, dialogue etc.) don’t overpower each other

10. EDITING The Office (UK or US..) Veep What we do in the Shadows
The Thick of It
The Office (UK or US..)

11. Chion, M. , Gorbman, C. and Delogu, J. C. (2009) Film, a sound art
Chion, M., Gorbman, C. and Delogu, J.C. (2009) Film, a sound art. New York: Columbia University Press.
Dancyger, K. (1993) The technique of film and video editing. 3rd edn. Boston: Focal Press.
Inline Citations: (Dancyger, 1993)
Munroe, R.M. (2009) How not to make a short film: Straight shooting from a Sundance programmer. New York: Hyperion.
Murch, W. (2001) In the blink of an eye: A perspective on film editing. 2nd edn. Los Angeles: Silman-James Press,U.S.
O’Steen, B. (2009) The invisible cut: How editors make movie magic. United States: Wiese, Michael Productions.
Inline Citations: (O’Steen, 2009)
Orpen, V. (2003) Film editing: The art of the expressive. LONDON: Wallflower Press.
Sally Menke: Film editor whose cutting style was a crucial element in the work of Quentin Tarantino (2010) Available at: (Accessed: 22 February 2016).